This poem has not been translated into any other language yet. Or to sink down to the hips in a mossy quagmire; In my biased opinion Roethke’s The Far Field rivals Walt Whitman’s original Song of Myself as one of the greatest books of American poetry ever published, and the sequence entitled “North American Sequence” is as inspiring as any of Whitman’s poetry. We shall not find in his poems the development of a systematic philosophy; there emerges rather the complex figure of a man directly confronting the limitations of his existence with none of life’s possibilities ... excluded.” Words for the Wind wavers in this way when, in Kunitz’s words, “the love poems gradually dissolve into the death poems.” The book does conclude with “The Dying Man” and “Meditations of an Old Woman,” but these poems are more than gloomy contemplations of death: Blessing believed “The Dying Man” (dedicated to Roethke’s spiritual father, Yeats) “remains a poem about the creative possibilities inherent in the very shapelessness of death”; Malkoff thought “Meditations of an Old Woman” “provides a kind of frame of reference for the consideration of life, and which often reappearing, is never far from the poem’s surface. Roethke taught at Michigan State College, (present-day Michigan State University) and at colleges in Pennsylvania and Vermont, before joining the faculty of the University of Washington at Seattle in 1947. "The Far Field" presents the most rewarding of his many volumes of poetry, both in brilliance of style and inner meaning. There is no doubt that Roethke is brilliant, but his poems are not to my usual taste. “The sensual world of the greenhouse is the first garden from which we have all emerged,” explained Richard Blessing, “and the attempt to make meaning of it, to recall the energies of that place occupies us all in the lonely chill of our adult beds.” James G. Southworth agreed that the search through the past is a painful one, as demonstrated in the opening lines of “Cuttings (later)”: “This urge, wrestle, resurrection of dry sticks, / Cut stems struggling to put down feet, / What saint strained so much, / Rose on such lopped limbs to new life?” Ultimately the message spelled from the greenhouse sequence, as interpreted by Blessing, “reads that life is dynamic, not static; that the energy of the moment from the past preserves it, in part, in the present; that experience is a continuum, not a collection of dead instant preserved and pinned on walls we have left behind.”
The struggle from the self is both a struggle to go deeper inside and also a struggle to escape. Copyright © 2008 - 2020 . The first 15 years of Roethke’s writing career, from his beginnings as an undergraduate to the publication of Open House, formed a “lengthy and painful apprenticeship” for the young writer. He was awarded the Pulitzer Prize for poetry in 1954 for his book, The Waking. Still for a moment,
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